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  35. <title>Song Review: kein &#8211; &#8220;Spiral&#8221;</title>
  36. <link>https://aeschtunes.com/2024/11/23/song-review-kein-spiral/</link>
  37. <comments>https://aeschtunes.com/2024/11/23/song-review-kein-spiral/#respond</comments>
  39. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  40. <pubDate>Sat, 23 Nov 2024 21:00:00 +0000</pubDate>
  41. <category><![CDATA[music]]></category>
  42. <category><![CDATA[review]]></category>
  43. <category><![CDATA[2020s]]></category>
  44. <category><![CDATA[2020s music]]></category>
  45. <category><![CDATA[J-Rock]]></category>
  46. <category><![CDATA[kein]]></category>
  47. <category><![CDATA[music review]]></category>
  48. <category><![CDATA[Spiral]]></category>
  49. <guid isPermaLink="false">http://aeschtunes.com/?p=22451</guid>
  50.  
  51. <description><![CDATA[In November 2024, Japanese rock band kein released the song, “Spiral,” from PARADOXON DOLORIS, the band’s first new release in 24 years. This song was recently brought to my attention, and I decided to check it out. When kein is described as a rock band, I feel that’s an accurate description after listening to “Spiral.”&#8230; <a href="https://aeschtunes.com/2024/11/23/song-review-kein-spiral/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: kein &#8211; &#8220;Spiral&#8221;</span></a>]]></description>
  52. <content:encoded><![CDATA[<p>In November 2024, Japanese rock band kein released the song, “Spiral,” from <em>PARADOXON DOLORIS</em>, the band’s first new release in 24 years. This song was recently brought to my attention, and I decided to check it out.</p>
  53. <p>When kein is described as a rock band, I feel that’s an accurate description after listening to “Spiral.” It’s intense, it’s catchy, it rocks, and it’s also a little on the dark side. I think you could describe them as a “gothic” band, and the sound of this particular song seems like it brings in some elements of nu metal and some hints of possible grunge influence as well. Lead singer maco has a voice that truly complements the sound and feel of “Spiral,” and I was quite impressed by his performance.</p>
  54. <p>Unfortunately, the video I watched on YouTube for “Spiral” did not include an English translation of the lyrics in the closed captioning. As of this writing, an English translation of the lyrics has not been posted on the internet. However, “Spiral” is the kind of song where I really didn’t need to understand the lyrics to fully appreciate the track. I think that that maco’s vocal delivery gives the listener hints and ideas of the type of song that this is meant to be. In the end, I think that “Spiral” has a good beat, and you can bang your head to it.</p>
  55. <p>I feel confident in saying that fans of kein will have an appreciation for “Spiral,” and that listeners who have an interest in J-rock will likely enjoy this one as well. When it comes to western music audiences, I think “Spiral” will be best appreciated by listeners who like harder songs, especially if they appreciate metal music (especially nu metal) and alternative rock.</p>
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  58. </div>
  59. <p><em>(reviewed by Lesley Aeschliman on November 23, 2024)</em></p>
  60. ]]></content:encoded>
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  72. <title>Song Review: Luther Vandross &#8211; &#8220;Michelle&#8221;</title>
  73. <link>https://aeschtunes.com/2024/11/23/song-review-luther-vandross-michelle/</link>
  74. <comments>https://aeschtunes.com/2024/11/23/song-review-luther-vandross-michelle/#respond</comments>
  76. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  77. <pubDate>Sat, 23 Nov 2024 18:00:00 +0000</pubDate>
  78. <category><![CDATA[music]]></category>
  79. <category><![CDATA[review]]></category>
  80. <category><![CDATA[2020s]]></category>
  81. <category><![CDATA[2020s music]]></category>
  82. <category><![CDATA[Luther Vandross]]></category>
  83. <category><![CDATA[Michelle]]></category>
  84. <category><![CDATA[music review]]></category>
  85. <category><![CDATA[R&B]]></category>
  86. <guid isPermaLink="false">http://aeschtunes.com/?p=22448</guid>
  87.  
  88. <description><![CDATA[It was recently announced that a recording of Luther Vandross covering The Beatles’ “Michelle” in 1989 was discovered by Vandross’ friend and backing vocalist Fonzi Thornton, and that this recording will be included on Never Too Much: Greatest Hits, which is scheduled to be released on December 13, 2024. A music video for the song&#8230; <a href="https://aeschtunes.com/2024/11/23/song-review-luther-vandross-michelle/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Luther Vandross &#8211; &#8220;Michelle&#8221;</span></a>]]></description>
  89. <content:encoded><![CDATA[<p>It was recently announced that a recording of Luther Vandross covering The Beatles’ “Michelle” in 1989 was discovered by Vandross’ friend and backing vocalist Fonzi Thornton, and that this recording will be included on <em>Never Too Much: Greatest Hits</em>, which is scheduled to be released on December 13, 2024. A music video for the song was released on November 21, 2024. I like The Beatles’ “Michelle,” and I also have an appreciation for Luther Vandross, so I was quite curious to hear how Luther covered this track.</p>
  90. <p>Musically, Luther’s cover of “Michelle” has been slowed down and given a late 1980’s soulful R&amp;B interpretation. I liked this take on this classic by The Beatles, and I think it works really well. And Luther’s vocals are top-notch on this recording, which also adds to the soulful feel of this rendition. To be honest, I don’t think there are any other R&amp;B artist who could have successfully recorded a cover of “Michelle” in this style besides Luther Vandross. Luther just had the right voice to successfully pull this off. I think this version of the song is beautiful.</p>
  91. <p>I wasn’t entirely sure what to expect before I listened to Luther’s cover of this song, but I came out of this listen quite impressed with what I heard. It’s too bad that this recording was never released before Luther’s passing in 2005. Seeing that the date on the recording that was found was June 1, 1989, my guess was that this had been recorded for potential inclusion on <em>The Best of Luther Vandross… The Best of Love</em>, a greatest hits that was released in September 1989, but for whatever reason, was ultimately not used and left in the vault.</p>
  92. <p>I think that Luther Vandross’ cover of “Michelle” will be appreciated by fans of Luther, as well as by listeners who enjoy listening to R&amp;B music from the late 1980’s.</p>
  93. <div class="jetpack-video-wrapper">
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  95. </div>
  96. <p><em>(reviewed by Lesley Aeschliman on November 22, 2024)</em></p>
  97. ]]></content:encoded>
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  109. <title>Song Review: Zay&#8217;Marie &#8211; &#8220;Inconvenience Fee&#8221;</title>
  110. <link>https://aeschtunes.com/2024/11/22/song-review-zaymarie-inconvenience-fee/</link>
  111. <comments>https://aeschtunes.com/2024/11/22/song-review-zaymarie-inconvenience-fee/#respond</comments>
  113. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  114. <pubDate>Sat, 23 Nov 2024 00:00:00 +0000</pubDate>
  115. <category><![CDATA[music]]></category>
  116. <category><![CDATA[review]]></category>
  117. <category><![CDATA[music review]]></category>
  118. <category><![CDATA[pop music]]></category>
  119. <category><![CDATA[R&B]]></category>
  120. <category><![CDATA[2020s]]></category>
  121. <category><![CDATA[2020s music]]></category>
  122. <category><![CDATA[Zay'Marie]]></category>
  123. <category><![CDATA[Inconvenience Fee]]></category>
  124. <guid isPermaLink="false">http://aeschtunes.com/?p=22440</guid>
  125.  
  126. <description><![CDATA[On November 22, 2024, singer-songwriter Zay’Marie released “Inconvenience Fee.” I was recently made aware of both Zay’Marie and this track and I decided to check it out. Musically, “Inconvenience Fee” seems to take some musical and production ideas for EDM and combines them with an R&#38;B influence to create its sound. I thought it was&#8230; <a href="https://aeschtunes.com/2024/11/22/song-review-zaymarie-inconvenience-fee/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Zay&#8217;Marie &#8211; &#8220;Inconvenience Fee&#8221;</span></a>]]></description>
  127. <content:encoded><![CDATA[<p>On November 22, 2024, singer-songwriter Zay’Marie released “Inconvenience Fee.” I was recently made aware of both Zay’Marie and this track and I decided to check it out.</p>
  128. <p>Musically, “Inconvenience Fee” seems to take some musical and production ideas for EDM and combines them with an R&amp;B influence to create its sound. I thought it was an interesting idea musically, but the song does end up getting stuck in a rut a little over halfway through. Unfortunately, this does get augmented a bit near the end, when the lyrics become a little redundant. This is a case where I think the song would have been stronger if it had been tightened up a little bit. However, I have to say that Zay’Marie has a great voice that works well with this track.</p>
  129. <p>Lyrically, the song is from the point of view of a speaker who feels undervalued in a relationship, and they’re declaring that it’s now “payback time.” I really like this lyrical idea, and to me, it’s the song’s strongest selling point. Zay’Marie perfectly paints a picture of a woman who has agency and is going to stand up for herself. And with her vocal delivery, she sells this character to the listener.</p>
  130. <p>While I like both the thematic and musical ideas that went into “Inconvenience Fee,” I just found that the song didn’t quite grab me as much I had hoped. However, that’s not to say that this is a bad song, because it isn’t. While it may not have entirely appealed to me, I think this song will resonate with listeners who like the theme of “Inconvenience Fee” and aren’t quite as concerned about repetition in the songs that they listen to.</p>
  131. <p>I think that “Inconvenience Fee” will appeal to fans of Zay’Marie, as well as to listeners who have an appreciation for Afropop. I also believe that there’s a possibility that the song might also have an appeal to modern pop music listeners.</p>
  132. <div class="jetpack-video-wrapper">
  133. <div class="embed-youtube"><iframe title="Inconvenience Fee" width="825" height="619" src="https://www.youtube.com/embed/jRU1Bxmd4l0?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  134. </div>
  135. <p><em>(reviewed by Lesley Aeschliman on November 22, 2024)</em></p>
  136. ]]></content:encoded>
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  148. <title>Song Review: Kim Wilde &#8211; &#8220;Midnight Train&#8221;</title>
  149. <link>https://aeschtunes.com/2024/11/22/song-review-kim-wilde-midnight-train/</link>
  150. <comments>https://aeschtunes.com/2024/11/22/song-review-kim-wilde-midnight-train/#respond</comments>
  152. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  153. <pubDate>Fri, 22 Nov 2024 21:00:00 +0000</pubDate>
  154. <category><![CDATA[music]]></category>
  155. <category><![CDATA[review]]></category>
  156. <category><![CDATA[2020s]]></category>
  157. <category><![CDATA[2020s music]]></category>
  158. <category><![CDATA[Kim Wilde]]></category>
  159. <category><![CDATA[Midnight Train]]></category>
  160. <category><![CDATA[music review]]></category>
  161. <category><![CDATA[pop music]]></category>
  162. <guid isPermaLink="false">http://aeschtunes.com/?p=22434</guid>
  163.  
  164. <description><![CDATA[On November 22, 2024, Kim Wilde released “Midnight Train,” which is the second single from her forthcoming album, Closer. I really liked the first single, “Trail Of Destruction,” and I was curious what else the new album will have to offer. Musically, “Midnight Train” is a mid-to-uptempo track that sounds like it incorporates the new&#8230; <a href="https://aeschtunes.com/2024/11/22/song-review-kim-wilde-midnight-train/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Kim Wilde &#8211; &#8220;Midnight&#160;Train&#8221;</span></a>]]></description>
  165. <content:encoded><![CDATA[<p>On November 22, 2024, Kim Wilde released “Midnight Train,” which is the second single from her forthcoming album, <em>Closer</em>. I really liked the first single, “<a href="https://aeschtunes.com/2024/10/04/song-review-kim-wilde-trail-of-destruction/">Trail Of Destruction</a>,” and I was curious what else the new album will have to offer.</p>
  166. <p>Musically, “Midnight Train” is a mid-to-uptempo track that sounds like it incorporates the new wave sound from the earlier part of Kim’s career with a modern sound and modern production techniques. It’s ultimately a mix of synthpop, pop, and rock. I thought the musical arrangement for this one was on the catchy side. However, with the way the track is produced, there are times when it almost sounds like Kim’s vocals have had effects placed on them. However, if you listen closely, that’s not the case. It’s just that at some points in the track, the sound of the music kind of creates an illusion that the vocals are processed when they really haven’t been. Once you realize that this illusion is going on, you can hear that Kim sounds really good on this track.</p>
  167. <p>Lyrically, the song seems to be from the point of view of a speaker who’s in a relationship and realizes that it’s time to bring it to an end and move on from it. There’s also some introspection on the speaker’s part during the song as well. Kim’s vocal performance really sells the speaker’s mindset and determination.</p>
  168. <p>I like “Midnight Train,” but I do think that “Trail Of Destruction” is the stronger song between the two. Even so, both songs have really piqued my interest in the <em>Closer</em> album, and I’m looking forward to getting my hands on it when it comes out in January 2025.</p>
  169. <p>I think that “Midnight Train” will appeal to fans of Kim Wilde’s music. It also has the chance to appeal to listeners who may not be familiar with Kim Wilde but have an appreciation for this style of pop music.</p>
  170. <div class="jetpack-video-wrapper">
  171. <div class="embed-youtube"><iframe title="Midnight Train" width="825" height="619" src="https://www.youtube.com/embed/TEjPeEhvnjg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  172. </div>
  173. <p><em>(reviewed by Lesley Aeschliman on November 22, 2024)</em></p>
  174. ]]></content:encoded>
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  177. <slash:comments>0</slash:comments>
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  186. <title>Song Review: Ava Max &#8211; &#8220;1 Wish&#8221;</title>
  187. <link>https://aeschtunes.com/2024/11/22/song-review-ava-max-1-wish/</link>
  188. <comments>https://aeschtunes.com/2024/11/22/song-review-ava-max-1-wish/#respond</comments>
  190. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  191. <pubDate>Fri, 22 Nov 2024 18:00:00 +0000</pubDate>
  192. <category><![CDATA[music]]></category>
  193. <category><![CDATA[review]]></category>
  194. <category><![CDATA[1 Wish]]></category>
  195. <category><![CDATA[2020s]]></category>
  196. <category><![CDATA[2020s music]]></category>
  197. <category><![CDATA[Ava Max]]></category>
  198. <category><![CDATA[Christmas]]></category>
  199. <category><![CDATA[Christmas music]]></category>
  200. <category><![CDATA[holiday music]]></category>
  201. <category><![CDATA[music review]]></category>
  202. <category><![CDATA[pop music]]></category>
  203. <guid isPermaLink="false">http://aeschtunes.com/?p=22073</guid>
  204.  
  205. <description><![CDATA[On November 1, 2024, Ava Max released “1 Wish,” to help ring in the holiday season. My familiarity with Ava Max comes from her 2020 hit, “Kings &#38; Queens,” as well as with her collaboration with Kygo (&#8220;Whatever”). When I found out that she had released a holiday single, I was quite intrigued to hear&#8230; <a href="https://aeschtunes.com/2024/11/22/song-review-ava-max-1-wish/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Ava Max &#8211; &#8220;1&#160;Wish&#8221;</span></a>]]></description>
  206. <content:encoded><![CDATA[<p>On November 1, 2024, Ava Max released “1 Wish,” to help ring in the holiday season. My familiarity with Ava Max comes from her 2020 hit, “Kings &amp; Queens,” as well as with her collaboration with Kygo (&#8220;Whatever”). When I found out that she had released a holiday single, I was quite intrigued to hear what she had to offer.</p>
  207. <p>Musically, “1 Wish” isn’t what I was expecting from Ava Max. However, this musical arrangement that’s more pop in nature and featuring jingle bells still works with her. As soon as this song gets going, it’s clear that it’s music for the holiday season. While it easily fits in with a lot of the pop holiday tunes that have been released over at least the past 20 years or so, it doesn’t sound derivative. It’s an enjoyable listen, and personally, I thought it was a “bop.” And Ava sounds like she’s having a great time singing this song and you can hear her enthusiasm.</p>
  208. <p>Lyrically, it’s what one would expect from a pop-sounding holiday song. In it, the speaker says they have one wish: that every day could feel like Christmas. There’s a lot of the obligatory references to sleigh bells, reindeer, mistletoe, and of course, Santa Claus. Ava may not be breaking any new ground lyrically with “1 Wish,” but you know what? You really don’t need to with Christmas and holiday songs. To be honest, I don’t expect anything terribly deep lyrically for seasonal songs, so this isn’t a mark against it. The lyrics work perfectly with the musical arrangement of the song.</p>
  209. <p>I really enjoyed “1 Wish,” and I think it’s a great addition to the pantheon of holiday season music. Fans of Ava Max, as well as pop music listeners, should easily have an appreciation for this song. Listeners who may not normally listen to Ava Max but enjoy poppy and upbeat holiday music might also like “1 Wish.”</p>
  210. <div class="jetpack-video-wrapper">
  211. <div class="embed-youtube"><iframe title="Ava Max - 1 Wish (Official Lyric Video)" width="825" height="464" src="https://www.youtube.com/embed/0G7HpFyEBVM?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  212. </div>
  213. <p><em>(reviewed by Lesley Aeschliman on November 22, 2024)</em></p>
  214. ]]></content:encoded>
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  217. <slash:comments>0</slash:comments>
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  226. <title>Compilation Album Review: NOW: Yearbook Vault &#8217;84</title>
  227. <link>https://aeschtunes.com/2024/11/20/compilation-album-review-now-yearbook-vault-84/</link>
  228. <comments>https://aeschtunes.com/2024/11/20/compilation-album-review-now-yearbook-vault-84/#respond</comments>
  230. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  231. <pubDate>Wed, 20 Nov 2024 18:00:00 +0000</pubDate>
  232. <category><![CDATA[music]]></category>
  233. <category><![CDATA[review]]></category>
  234. <category><![CDATA[1980s]]></category>
  235. <category><![CDATA[1980s music]]></category>
  236. <category><![CDATA[80s]]></category>
  237. <category><![CDATA[80s music]]></category>
  238. <category><![CDATA[music review]]></category>
  239. <category><![CDATA[NOW Yearbook]]></category>
  240. <guid isPermaLink="false">http://aeschtunes.com/?p=22413</guid>
  241.  
  242. <description><![CDATA[NOW: Yearbook Vault ’84 is a continuation for NOW: Yearbook 1984 and NOW: Yearbook 1984 Extra. This release includes some rarely compiled tracks, and the fourth disc is dedicated to songs that were hits in the United States but had less of an impact on the U.K. chart. The first disc of NOW: Yearbook 1984&#8230; <a href="https://aeschtunes.com/2024/11/20/compilation-album-review-now-yearbook-vault-84/" class="more-link">Continue reading <span class="screen-reader-text">Compilation Album Review: NOW: Yearbook Vault&#160;&#8217;84</span></a>]]></description>
  243. <content:encoded><![CDATA[<p><img data-attachment-id="22412" data-permalink="https://aeschtunes.com/now-yearbook-vault-84/" data-orig-file="https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp" data-orig-size="3000,2737" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="NOW Yearbook Vault 84" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=300" data-large-file="https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=825" class="size-full wp-image-22412 aligncenter" src="https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp" alt="NOW Yearbook Vault 84" width="3000" height="2737" srcset="https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp 3000w, https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=150&amp;h=137 150w, https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=300&amp;h=274 300w, https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=768&amp;h=701 768w, https://aeschtunes.com/wp-content/uploads/2024/11/now-yearbook-vault-84.webp?w=1024&amp;h=934 1024w" sizes="(max-width: 3000px) 100vw, 3000px" /></p>
  244. <p><em>NOW: Yearbook Vault ’84</em> is a continuation for <em>NOW: Yearbook 1984</em> and <em>NOW: Yearbook 1984 Extra</em>. This release includes some rarely compiled tracks, and the fourth disc is dedicated to songs that were hits in the United States but had less of an impact on the U.K. chart.</p>
  245. <p>The first disc of <em>NOW: Yearbook 1984</em> introduced me to Helen Terry’s “Love Lies Lost.” I didn’t recognize her name, so I looked her up on Google and discovered that she was a backing singer for Culture Club before releasing this song. Hearing this song, I have to say that Helen has a great voice, and it’s too bad she didn’t have a bigger career as a solo artist. The song itself is also quite catchy, and I enjoyed it a lot. As far as I can tell, “Love Lies Lost” wasn’t promoted in the United States, which would explain why I’d never heard this song until listening to this compilation. This is among the best of the new discoveries I made when I listened to this release.</p>
  246. <p>Another song I heard for the first time on this disc is “Hanna Hanna” by China Crisis. For many years, the only song I knew by them was “King in a Catholic Style (Wake Up),” but I’ve started getting more exposure to their material thanks to its inclusion on the various <em>NOW: Yearbook</em> compilations. Musically, I found “Hanna Hanna” to be quite catchy, and the horns that appear throughout the track add a nice texture to it. If I didn’t know that “Hanna Hanna” was by China Crisis when I was listening to it, I wouldn’t have guessed it was them due to how different it sounds compared to the material that I know by them. I really liked “Hanna Hanna,” though, and it’s another song I’m glad I discovered through this compilation.</p>
  247. <div class="jetpack-video-wrapper">
  248. <div class="embed-youtube"><iframe title="Hanna Hanna" width="825" height="619" src="https://www.youtube.com/embed/ZeWkalfdqic?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  249. </div>
  250. <p>Disc One also introduced me to “Ghost Of Love” by Fiction Factory. Prior to listening to <em>NOW: Yearbook Vault ’84</em>, the only song I knew by them was “(Feels Like) Heaven.” I have to say that this is another case where if I didn’t know that “Ghost Of Love” was by Fiction Factory, I wouldn’t have realized it was them due to how different this song is from “(Feels Like) Heaven.” However, I thought that “Ghost Of Love” showed that the group was capable of more sonically than what “(Feels Like) Heaven” has to offer. They may sound different from each other, but both songs are good in their own right. If these two tracks are any indication of what Fiction Factory was capable of, then I may need to track down more of their material and check it out.</p>
  251. <div class="jetpack-video-wrapper">
  252. <div class="embed-youtube"><iframe title="Ghost of Love" width="825" height="619" src="https://www.youtube.com/embed/HoweeiAk6q4?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  253. </div>
  254. <p>The second disc of this compilation exposed me to Dennis Edwards and Siedah Garrett’s “Don’t Look Any Further.” Prior to listening to this release, I had no familiarity with Dennis Edwards, although I know Siedah Garrett from her collaboration with Michael Jackson (“I Just Can’t Stop Loving You”) as well as for her solo song, “Do You Want It Right Now.” I’m going to be honest here and say that after listening to this track, I think I can hear why I’d never heard of Dennis Edwards. Personally, I didn’t find his voice enjoyable to listen to. Siedah, on the other hand, sounds great here. Unfortunately, their voices don’t really mesh together as well as they really needed to for this duet to be successful.</p>
  255. <p>Disc Two introduced me to “He’s a Saint, He’s a Sinner” by Miquel Brown. This is an upbeat track that sounds like it was meant to be a song for the dance floor… although it sounds to me more like something that would have had success in that venue a couple of years earlier. To me, this just doesn’t sound quite sound like something from 1984, and that probably helps to explain why this song barely cracked the Top 70 in the UK and just barely cracked the Top 30 on the US dance chart. It’s not a bad song, and I actually kind of enjoy it, but it sounds a little out of place sonically when compared to a lot of the other material included on <em>NOW: Yearbook Vault ’84</em>.</p>
  256. <div class="jetpack-video-wrapper">
  257. <div class="embed-youtube"><iframe title="Miquel Brown - He&#039;s A Saint, He&#039;s A Sinner" width="825" height="464" src="https://www.youtube.com/embed/9I1Yc0YApCU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  258. </div>
  259. <p>This disc also revealed to me that Buster Poindexter’s “Hot Hot Hot” was actually a cover. I didn’t know until listening to this compilation that the song had previously been recorded by Arrow. After listening to the original version by Arrow, I have to say that I like it a lot better than the Buster Poindexter cover. Buster Poindexter’s cover is tolerable, but I found that I genuinely enjoyed Arrow’s original take on the song.</p>
  260. <div class="jetpack-video-wrapper">
  261. <div class="embed-youtube"><iframe title="Hot Hot Hot (Original 7)" width="825" height="619" src="https://www.youtube.com/embed/NKsjJGJ8b_E?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  262. </div>
  263. <p>Disc Three introduced me to “Pearly-Dewdrop’s Drops” by Cocteau Twins. While I’ve known of the Cocteau Twins for years through their name, I’ve heard little to none of their music until more recently. After listening to this song, I have to say that I like Elizabeth Fraser’s voice. Musically, I hear an ethereal, dreamy feel combined with a bassline that almost sounds like it would sound right at home on a song by The Cure. “Pearly-Dewdrops’ Drops” isn’t a bad song, but admittedly, this isn’t a song I’d really go out of my way to listen to very often.</p>
  264. <p>This disc exposed me to “Each and Every One” by Everything But the Girl. Prior to listening to this track, I primarily knew the act from the Todd Terry Remix of their 90’s hit “Missing,” and through hearing the song “I Don’t Want to Talk About It” from the <a href="https://aeschtunes.com/2023/12/17/compilation-album-review-now-yearbook-1988/"><em>NOW: Yearbook 1988</em></a> compilation. Because of that, I was quite surprised when I heard “Each and Every One,” because it wasn’t what I would have expected from the act. Even though I was surprised by this song, I found that I liked it. I thought the bossa nova sound added an interesting texture to the track and made it stand out in a good way. Between the three tracks I’ve heard by Everything But the Girl, I’m quite impressed by the wide range of musical sounds and styles that they’ve utilized.</p>
  265. <div class="jetpack-video-wrapper">
  266. <div class="embed-youtube"><iframe title="Everything But The Girl - Each and Every One (Official Music Video)" width="825" height="464" src="https://www.youtube.com/embed/z8C4tQvMUkI?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  267. </div>
  268. <p>I also heard “CCCan’t You See” by Vicious Pink for the first time on this compilation. Not only was I hearing this song for the first time, I was hearing a song by Vicious Pink for the first time as well. This is a mid-to-uptempo synthpop track, and I thought it sounded catchy. I also think the vocalist has a good voice. However, sonically, this one sounds more like something from 1982 or early 1983 instead of a song from 1984. That probably helps to explain why it wasn’t overly successful in the United Kingdom. Even so, I thought this was another good discover on <em>NOW: Yearbook Vault ’84</em>.</p>
  269. <div class="jetpack-video-wrapper">
  270. <div class="embed-youtube"><iframe title="Cccan&#039;t You See" width="825" height="619" src="https://www.youtube.com/embed/cWM1nZzJLHA?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  271. </div>
  272. <p>Since the final disc focuses on songs that were more successful in the United States than in the United Kingdom, it wasn’t surprising that I know almost all of them. In fact, the only song on Disc Four that I didn’t already know was “Leave It” by Yes. After seeing that this song only peaked at number 24 as a follow-up to a number one single, I realized it wasn’t surprising that I wasn’t already familiar with this one. After listening it, I found that I really enjoyed the sound and vibe of “Leave It,” but at the same time, I can hear why this wasn’t a major hit in the United States. It’s a great song, but it wasn’t exactly a mainstream sounding song for 1984.</p>
  273. <div class="jetpack-video-wrapper">
  274. <div class="embed-youtube"><iframe title="Yes - Leave It (Official Music Video)" width="825" height="464" src="https://www.youtube.com/embed/8-hJFoSgXfM?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  275. </div>
  276. <p>Here’s a breakdown of the artists that appear on <em>NOW: Yearbook Vault ’84</em>: Heaven 17, ABC, Scritti Politti, Soft Cell, Bananarama, Helen Terry, Matt Bianco, Five Star, Level 42, Talk Talk, Visage, The Psychedelic Furs, Kim Wilde, Nena, The Belle Stars, Marilyn, China Crisis, Fiction Factory, A Flock of Seagulls, Blancmange, Orchestral Manoeuvres in the dark, Teddy Pendergrass &amp; Whitney Houston, Dennis Edwards &amp; Siedah Garrett, Loose Ends, Sheila E, Shannon, Shalamar, Miquel Brown, Evelyn Thomas, Divine, Hazell Dean, Arrow, UB40, Mike Oldfield &amp; Maggie Reilly, Marillion, Twisted Sister, Judas Priest, Scorpions, Meat Loaf, John Lennon, Cocteau Twins, Siouxsie &amp; The Banshees, The Icicle Works, Everything But The Girls, Malcolm McLaren, The Associates, Sparks, Vicious Pink, M+M, The Colour Field, Tom Robinson, Aztec Camera, Julian Cope, XTC, The Boomtown Rats, The Stranglers, Public Image Ltd., Spear Of Destiny, The Sisters of Mercy, Swans Way, Culture Club, Thompson Twins, Corey Hart, The Fixx, The Go-Go’s, The Cars, Pretenders, Hall &amp; Oates, Sheena Easton, Donna Summer, Mike Reno &amp; Ann Wilson, Steve Perry, Night Ranger, Rick Springfield, Bon Jovi, Scandal featuring Patty Smyth, ZZ Top, Yes, Huey Lewis &amp; The News, and “Weird Al” Yankovic.</p>
  277. <p>Compared with <a href="https://aeschtunes.com/2024/07/06/compilation-album-review-now-yearbook-vault-83/"><em>NOW: Yearbook Vault ’83</em></a>, I think that <em>NOW: Yearbook Vault ’84</em> contains a better of ratio of songs I was already familiar with and songs that I was had never heard before. Of course, the disc I knew the most songs was the fourth one, which isn’t surprising since it’s focused more on songs that were hits in the United States.</p>
  278. <p>If you’re a fan of 80’s music, especially for tracks that are a little more on the obscure side, you might appreciate what <em>NOW: Yearbook Vault ’84</em> has to offer.</p>
  279. <p><em>(reviewed by Lesley Aeschliman on November 20, 2024)</em></p>
  280. ]]></content:encoded>
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  290.  
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  292. <media:title type="html">NOW Yearbook Vault 84</media:title>
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  294. </item>
  295. <item>
  296. <title>Song Review: Kenshi Yonezu &#8211; &#8220;Azalea&#8221;</title>
  297. <link>https://aeschtunes.com/2024/11/19/song-review-kenshi-yonezu-azalea/</link>
  298. <comments>https://aeschtunes.com/2024/11/19/song-review-kenshi-yonezu-azalea/#comments</comments>
  300. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  301. <pubDate>Tue, 19 Nov 2024 21:00:00 +0000</pubDate>
  302. <category><![CDATA[music]]></category>
  303. <category><![CDATA[review]]></category>
  304. <category><![CDATA[2020s]]></category>
  305. <category><![CDATA[2020s music]]></category>
  306. <category><![CDATA[Azalea]]></category>
  307. <category><![CDATA[J-pop]]></category>
  308. <category><![CDATA[Kenshi Yonezu]]></category>
  309. <category><![CDATA[music review]]></category>
  310. <guid isPermaLink="false">http://aeschtunes.com/?p=22394</guid>
  311.  
  312. <description><![CDATA[On November 18, 2024, J-pop artist Kenshi Yonezu released the music video for “Azalea,” which is being used as a theme song for the Netflix series Beyond Goodbye. I have to be up front and admit that the only familiarity I have with the show is the information provided in the press release that promotes&#8230; <a href="https://aeschtunes.com/2024/11/19/song-review-kenshi-yonezu-azalea/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Kenshi Yonezu &#8211; &#8220;Azalea&#8221;</span></a>]]></description>
  313. <content:encoded><![CDATA[<p>On November 18, 2024, J-pop artist Kenshi Yonezu released the music video for “Azalea,” which is being used as a theme song for the Netflix series <em>Beyond Goodbye</em>. I have to be up front and admit that the only familiarity I have with the show is the information provided in the press release that promotes this song.</p>
  314. <p>Musically, “Azalea” is a slow-to-midtempo track that primarily focuses on piano and percussion for its instrumentation, although there is also some synth mixed in at points during the song. I think this choice works quite well for the track and gives it an interesting texture and vibe. Even though it’s closer to a midtempo track, I still found this a catchy song to listen to. Also, I have to say that Kenshi Yonezu has a good voice that complements the musical arrangement.</p>
  315. <p>The video I watched for “Azalea” on YouTube has an English translation of the lyrics included in the closed captioning. Reading through the translation of the lyrics, they seem to have been inspired the setup for the series. According to the press release I read, the series sees a woman named Saeko losing the love of her life in an accident on the day he proposes to her. Another man, Naruse, receives her lover’s heart in a heart transplant. The two are drawn together by fate and the memories of the woman’s lover resurface in Naruse. If you know the premise behind the show when listening to this song, then the lyrics make a little more sense. Listeners who know nothing about <em>Beyond Goodbye</em> can attach a more universal application of the lyrics, the fuller meaning could potentially be lost.</p>
  316. <p>Even saying that, I think that “Azalea” is a good song and can be appreciated by both those who know the series and by those who don’t, but the reading and understanding of what the lyrics are about could potentially be different between the two groups. I think the song will have the strongest appeal to fans of Kenshi Yonezu and to fans of <em>Beyond Goodbye</em>. I also believe that listeners who already have an appreciation for J-pop will likely enjoy this as well. When it comes to western music audiences, it might potentially appeal to pop listeners who don’t mind listening to a song being sung in a foreign language.</p>
  317. <div class="jetpack-video-wrapper">
  318. <div class="embed-youtube"><iframe title="米津玄師  Kenshi Yonezu - Azalea" width="825" height="464" src="https://www.youtube.com/embed/FqWBQv7h_3I?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  319. </div>
  320. <p><em>(reviewed by Lesley Aeschliman on November 19, 2024)</em></p>
  321. ]]></content:encoded>
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  331. </item>
  332. <item>
  333. <title>Album Review: ZZ Top &#8211; &#8220;Eliminator&#8221;</title>
  334. <link>https://aeschtunes.com/2024/11/19/album-review-zz-top-eliminator/</link>
  335. <comments>https://aeschtunes.com/2024/11/19/album-review-zz-top-eliminator/#respond</comments>
  337. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  338. <pubDate>Tue, 19 Nov 2024 18:00:00 +0000</pubDate>
  339. <category><![CDATA[music]]></category>
  340. <category><![CDATA[review]]></category>
  341. <category><![CDATA[1980s]]></category>
  342. <category><![CDATA[1980s music]]></category>
  343. <category><![CDATA[80s]]></category>
  344. <category><![CDATA[80s music]]></category>
  345. <category><![CDATA[Eliminator]]></category>
  346. <category><![CDATA[music review]]></category>
  347. <category><![CDATA[rock]]></category>
  348. <category><![CDATA[ZZ Top]]></category>
  349. <guid isPermaLink="false">http://aeschtunes.com/?p=20821</guid>
  350.  
  351. <description><![CDATA[ZZ Top released their eighth album, Eliminator, on March 23, 1983. This is the album that contains most of the band’s best-known tracks from the 1980’s. This was the album that first introduced me to ZZ Top when I was a kid, thanks to the music videos for “Gimme All Your Lovin’,” “Sharp Dressed Man,”&#8230; <a href="https://aeschtunes.com/2024/11/19/album-review-zz-top-eliminator/" class="more-link">Continue reading <span class="screen-reader-text">Album Review: ZZ Top &#8211; &#8220;Eliminator&#8221;</span></a>]]></description>
  352. <content:encoded><![CDATA[<p><img data-attachment-id="20820" data-permalink="https://aeschtunes.com/zz-top-eliminator/" data-orig-file="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg" data-orig-size="300,300" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="ZZ Top Eliminator" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg?w=300" data-large-file="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg?w=300" class="size-full wp-image-20820 aligncenter" src="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg" alt="ZZ Top Eliminator" width="300" height="300" srcset="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg 300w, https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg?w=150&amp;h=150 150w" sizes="(max-width: 300px) 100vw, 300px" /></p>
  353. <p>ZZ Top released their eighth album, <em>Eliminator</em>, on March 23, 1983. This is the album that contains most of the band’s best-known tracks from the 1980’s. This was the album that first introduced me to ZZ Top when I was a kid, thanks to the music videos for “Gimme All Your Lovin’,” “Sharp Dressed Man,” and “Legs” getting a lot of rotation on MTV back in the day. Admittedly, I don’t have a lot of familiarity with ZZ Top’s material outside of their 80’s material and “Doubleback” (their song from the soundtrack for <em>Back to the Future III</em>), but I do have an appreciation for what I’ve heard by them.</p>
  354. <p>The album opens with “Gimme All Your Lovin’,” which was released as the lead-off single for the album. This upbeat rock track is the perfect song to open the album with, as it sets the tone and vibe for what listeners can expect when listening to <em>Eliminator</em>. “Gimme All Your Lovin’” is a catchy track, and it’s one the songs I enjoy on the album. Lyrically, it’s a pretty straightforward song where the speaker is interested in someone else romantically and they’re making their feelings for the other person quite clear. But these straightforward lyrics, combined with the upbeat and catchy musical arrangement, actually works. It was this combination that helped “Gimme All Your Lovin’” to have the success that it did.</p>
  355. <div class="jetpack-video-wrapper">
  356. <div class="embed-youtube"><iframe title="Gimme All Your Lovin&#039; (2019 Remaster)" width="825" height="619" src="https://www.youtube.com/embed/i51nCe8Yln8?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  357. </div>
  358. <p>Next is “Got Me Under Pressure,” which has overall more of an AOR and rock flavor than a pop feel to it. Lyrically, this song is from the point of view of a speaker who is in a bad and destructive relationship, with their romantic interest caring more about material possessions and various vices than being in a healthy relationship. The vocal performance on “Got Me Under Pressure” really sells the lyrics of the song, and you can believe that the speaker is feeling tormented by this relationship. For me personally, this is a decent song, but it just doesn’t quite stand out to me as the successful singles from <em>Eliminator</em>.</p>
  359. <p>This is followed by “Sharp Dressed Man,” which was released as the second single from the album. Like with “Gimme All Your Lovin’,” this track has more of a pop sheen to it. It’s quite catchy, both musically and lyrically. The guitar solo on this track is also a standout, and it was included in <em>Guitar World</em>’s 2009 list of the 50 Greatest Guitar Solos. “Sharp Dressed Man” is among my favorite songs on <em>Eliminator</em>.</p>
  360. <div class="jetpack-video-wrapper">
  361. <div class="embed-youtube"><iframe title="Sharp Dressed Man (2019 Remaster)" width="825" height="619" src="https://www.youtube.com/embed/WUnp0xPF6zw?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  362. </div>
  363. <p>“I Need You Tonight” is the longest track on the album, clocking in at six minutes and 17 seconds. It’s the first slower song on the album, and you can definitely hear a blues influence on this one. Lyrically, this one is also straightforward and is from the point of view of a speaker who’s longing for a relationship with someone, but it appears that they aren’t able to express these feelings to that person. I definitely get a vibe of unrequited interest from the lyrics. I really love how this one sounds musically, and the mood of the track works well with the lyrics. To me, “I Need You Tonight” is a standout on <em>Eliminator</em>.</p>
  364. <div class="jetpack-video-wrapper">
  365. <div class="embed-youtube"><iframe title="I Need You Tonight (2008 Remaster)" width="825" height="619" src="https://www.youtube.com/embed/euzlaYW7Qho?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  366. </div>
  367. <p>Next is “I Got the Six,” which picks the tempo of the album back up. Musically, this one is a rocker, but more of an AOR track than a pop rock one. Lyrically, it’s pretty clear that there’s sexual innuendo involved here. I like this one musically, but it doesn’t do much for me lyrically. “I Got the Six” is a track I’m more likely to skip when I’m listening to <em>Eliminator</em>.</p>
  368. <p>This is followed by “Legs,” which was released as the fourth and final single from the album. Musically, this has the pop sheen and catchiness that’s prominent on tracks like “Gimme All Your Lovin’” and “Sharp Dressed Man.” Lyrically, the song is from the point of view of a speaker who notices a woman’s legs and how they get them sexually interested in the woman they’re seeing. Admittedly, this one’s got a bit of misogyny going on with its lyrics, but the song is just so catchy musically. I’ve always been a little torn when it comes to this particular song, even going back to when I first heard it in 1984.</p>
  369. <div class="jetpack-video-wrapper">
  370. <div class="embed-youtube"><iframe title="Legs (2008 Remaster)" width="825" height="619" src="https://www.youtube.com/embed/rM_nGN_du84?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  371. </div>
  372. <p>“Thug” is a straight ahead AOR track that doesn’t have any of the pop feel that’s on some of the material on <em>Eliminator</em>. Lyrically, this song seems to be from the point of view of a speaker who’s reminiscing about being a thug in the past as they’re in the middle of a carjacking. Perhaps the speaker has broken out of prison and is taking the car to try to escape. It’s never blatantly said outright, but that’s an interpretation that can be picked up from the lyrics. This song may be a little over four minutes long, but the ending instrumental lasts well over two minutes. I think this song would have been a little stronger if this ending instrumental had been tightened up a little. Honestly, the instrumental really doesn’t much of anywhere during those last two minutes, and it’s easy to become bored while listening to the end of this track. If it wasn’t for the overly long outro instrumental, I would enjoy “Thug” a lot more.</p>
  373. <p>Next is “TV Dinners,” which was released as the third single from <em>Eliminator</em>. To be honest, I have no memory of this song being released as a single, and it’s not a track that receives recurrent airplay on U.S. radio. While some of the tracks on this album have a little more electronics and synths included, “TV Dinners” relies on the electronics more heavily than the other tracks. Lyrically, this actually seems to be an ode to TV dinners. Compared to the other material on <em>Eliminator</em>, the lyrical content of this track kind of feels out of place. In fact, the lyrics almost feel like something that “Weird Al” Yankovic might sing. After listening to this song, I can hear why this single doesn’t get recurrent airplay on the radio. It’s hard to take the song’s lyrics seriously, and musically, it almost sounds like a parody of ZZ Top.</p>
  374. <p>This is followed by “Dirty Dog,” which sounds more like the pop-friendly material musically. Lyrically, the song is from the point of view of a speaker who has left a romantic relationship because they discovered that the other person was cheating on them. The speaker is making it clear that the relationship is through and is expressing how they feel about the cheater. Musically, I like this one and find it to be catchy. While I don’t personally care for some of the lyrics, I have to admit that the band did a great job capturing the anger and frustration someone would feel after discovering their partner was cheating on them.</p>
  375. <p>“If I Could Only Flag Her Down” sounds like it’s taking an influence from late 1950’s and early 1960’s rock and roll with its musical arrangement. This was an interesting idea to take the track in musically, and I find this one to sound catchy. Lyrically, it’s an OK song. It’s not as misogynistic as some of the material on<em> Eliminator</em>, but there are still some hints of that in them.,</p>
  376. <p>The album closes with “Bad Girl,” which sees ZZ Top using a sound that would become associated with the “hair metal” scene of the 1980’s. If I heard this without knowing it was ZZ Top, I never would have guessed that this was a song by them. To be honest, I found the inclusion of this sound a little jarring, because it sounds nothing like the rest of the material on <em>Eliminator</em>. Lyrically, this one is more on the misogynistic side. Even though it sounds kind of interesting, I’m not sure that it really works for ZZ Top. Also, it really sticks out like a sore thumb compared to the rest of the material on the album.</p>
  377. <p><em>Eliminator</em> has some good material on it, but it feels like the band really didn’t know what direction they were wanting to go in at this point in the career. The album jumps all over the place sonically, and there’s no real sense of cohesion if you listen to the album in its entirety. This is one of those cases where there are some good songs on here if you listen to them individually, but the tracks and their sequencing just don’t work when you look at the album as a whole.</p>
  378. <p><em>(reviewed by Lesley Aeschliman on November 19, 2024)</em></p>
  379. ]]></content:encoded>
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  389.  
  390. <media:content url="https://aeschtunes.com/wp-content/uploads/2024/09/zz-top-eliminator.jpg" medium="image">
  391. <media:title type="html">ZZ Top Eliminator</media:title>
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  393. </item>
  394. <item>
  395. <title>Album Review: Erasure &#8211; &#8220;The Neon&#8221;</title>
  396. <link>https://aeschtunes.com/2024/11/18/album-review-erasure-the-neon/</link>
  397. <comments>https://aeschtunes.com/2024/11/18/album-review-erasure-the-neon/#respond</comments>
  399. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  400. <pubDate>Tue, 19 Nov 2024 00:00:00 +0000</pubDate>
  401. <category><![CDATA[music]]></category>
  402. <category><![CDATA[review]]></category>
  403. <category><![CDATA[2020s]]></category>
  404. <category><![CDATA[2020s music]]></category>
  405. <category><![CDATA[electronic music]]></category>
  406. <category><![CDATA[Erasure]]></category>
  407. <category><![CDATA[music review]]></category>
  408. <category><![CDATA[synthpop]]></category>
  409. <category><![CDATA[The Neon]]></category>
  410. <guid isPermaLink="false">http://aeschtunes.com/?p=22390</guid>
  411.  
  412. <description><![CDATA[On August 21, 2020, Erasure released their 18th studio album, The Neon. My husband and I have both been fans of Erasure for years, so it was a no-brainer to buy this album when it was released. It’s been a little over four years since The Neon was first released, and this review marks the&#8230; <a href="https://aeschtunes.com/2024/11/18/album-review-erasure-the-neon/" class="more-link">Continue reading <span class="screen-reader-text">Album Review: Erasure &#8211; &#8220;The&#160;Neon&#8221;</span></a>]]></description>
  413. <content:encoded><![CDATA[<p><img data-attachment-id="22389" data-permalink="https://aeschtunes.com/erasure-the-neon/" data-orig-file="https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg" data-orig-size="425,425" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Erasure The Neon" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg?w=300" data-large-file="https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg?w=425" class="size-full wp-image-22389 aligncenter" src="https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg" alt="Erasure The Neon" width="425" height="425" srcset="https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg 425w, https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg?w=150&amp;h=150 150w, https://aeschtunes.com/wp-content/uploads/2024/11/erasure-the-neon.jpg?w=300&amp;h=300 300w" sizes="(max-width: 425px) 100vw, 425px" /></p>
  414. <p>On August 21, 2020, Erasure released their 18th studio album, <em>The Neon</em>. My husband and I have both been fans of Erasure for years, so it was a no-brainer to buy this album when it was released. It’s been a little over four years since <em>The Neon</em> was first released, and this review marks the first time I’m listening to this album in its entirety in quite a while.</p>
  415. <p>The album opens with “Hey Now (Think I Got a Feeling),” which was released as the lead-off single. Musically, this is the dance-infused synthpop sound that fans have come to expect from Erasure, but that doesn’t mean that it’s simply retreading sounds or musical ideas. In some respects, I can kind of hear a musical nod to Giorgio Moroder’s sound. Lyrically, the song seems to be from the point of view of a speaker who’s out alone in the city and the thoughts going through their head as they wander. To be honest, I think that “Hey Now (Think I Got a Feeling)” was the perfect song to open <em>The Neon</em> with, and it helps to set the stage for what’s to come as you listen to the album. To me, this is one of the standouts on the album.</p>
  416. <div class="jetpack-video-wrapper">
  417. <div class="embed-youtube"><iframe title="Erasure - Hey Now (Think I Got A Feeling)" width="825" height="464" src="https://www.youtube.com/embed/PsshI47JLUE?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  418. </div>
  419. <p>Next is “Nerves Of Steel,” which was released as the second single from <em>The Neon</em>. This is more of a mid-to-uptempo track that slows the album down, but not by too much. Even though there’s a notable tempo change, the segue between “Hey Now (Think I Got a Feeling)” and “Nerves Of Steel” feels natural instead of awkward. I really like the synth sounds that Vince decided to use on this song, because I think they really add a great texture to the track. Lyrically, the song seems to be from the point of view of a speaker who is talking about a romantic relationship they’re in that may not necessarily be accepted. In a lot of ways, the song almost feels anthemic and gives off some “us against the world” energy. This is another song that I enjoy on <em>The Neon</em>.</p>
  420. <div class="jetpack-video-wrapper">
  421. <div class="embed-youtube"><iframe title="Erasure - Nerves of Steel (Official Video)" width="825" height="464" src="https://www.youtube.com/embed/A8NqwW0hJ9w?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  422. </div>
  423. <p>This is followed by “Fallen Angel,” which was released as the third and final single from the album. Musically, of the three tracks that have appeared on the album at this point, this upbeat track sounds closer to the more recent material Erasure was recording. On the other two tracks, you could hear home some of Erasure’s earlier material influenced them musically, which wasn’t as much of the case here. I really like the lighter and “airy” feel of “Fallen Angel,” which works well with the lyrics of the song. Lyrically, this song seems to be from the point of view of a speaker who is trying to do something they never dared to before but also admits that even though they may feel invincible that they still have a weakness. I like what the lyrics have to say, and the musical accompaniment for this message is perfect. “Fallen Angel” is another standout on <em>The Neon</em>.</p>
  424. <div class="jetpack-video-wrapper">
  425. <div class="embed-youtube"><iframe title="Erasure - Fallen Angel (Official Video)" width="825" height="464" src="https://www.youtube.com/embed/tAgkT1yEhT8?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  426. </div>
  427. <p>“No Point in Tripping” is a mid-to-uptempo track that perfectly blends influences from Erasure’s older material and the more current sounds that the duo was exploring leading up to the recording of <em>The Neon</em>. While this may be more of a midtempo than an uptempo track, it’s still rather catchy musically. Lyrically, the song seems to be from the point of view of a speaker who’s going through confusion and that this is their stream-of-consciousness as they wrestle with that confusion. It’s an interesting concept for a song, and I think it works well with this musical arrangement. To me, “No Point in Tripping” is another winner on the album.</p>
  428. <div class="jetpack-video-wrapper">
  429. <div class="embed-youtube"><iframe title="No Point in Tripping" width="825" height="619" src="https://www.youtube.com/embed/YZZMx9x3fBI?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  430. </div>
  431. <p>Next is “Shot A Satellite,” which is a slow-to-midtempo track. Of all the songs that appear on the album at this point, this one has the most “blippy” sound of all of them. Fortunately, that “blippy” sound is more in the background when the vocals are going, which helps to minimize it. But in the instrumental sections, that “blippy” sound just sticks out and draws a little too much attention to itself at times. In some respects, the musical arrangement of “Shot A Satellite” kind of gives me some Lady Gaga vibes. Lyrically, the song seems to be from the point of view of a speaker who has fallen for another person, thanks in large part to the other person’s actions and the way they treat the speaker. I really like what this song has to say, and Andy’s vocal performance is great. Unfortunately, some of the choices made for the musical arrangement of “Shot A Satellite” hamper my ability to enjoy this song as fully as I might have otherwise. It’s not a bad song, but there were just some musical decisions that were made that didn’t appeal to me personally. To be honest, I thought the song sounded better in its live arrangement on <a href="https://aeschtunes.com/2023/05/01/album-review-erasure-the-neon-live/"><em>The Neon Live</em></a>.</p>
  432. <p>This is followed by “Tower Of Love,” which is a slower temposong. I don’t know what it is, though, but early on in the song, Andy’s vocals and the music don’t entirely seem to work together as well as they could, and I found this to be a distraction. This issue disappears in the latter half of the song, but by that point, the damage is done. This melding issue early on in the track was distracting enough that it made it hard to focus on the song. However, one thing I did notice is that “Tower Of Love” doesn’t utilize a typical verse-chorus-verse pattern. To be honest, I think this was the right choice to make, because I don’t think this song would have worked with the typical lyric structure. Lyrically, the song seems to be about being in a loveless marriage. In the end, I liked some of the ideas that went into “Tower Of Love,” but the final execution of those ideas just wasn’t as strong to me as it could have been.</p>
  433. <p>“Diamond Lies” leans a little more on the uptempo side musically and helps to pick the album back up after “Tower Of Love.” This is another track on the album where is sounds like Erasure was trying to meld some influences from their older material with their more recent sound at this point, and this worked out well on “Diamond Lies.” I also like how the song just seems to abruptly end, and I thought this was an effective choice. Lyrically, the song seems to be using the idea of the inaneness of fame and applying it to a relationship where the speaker is trying to keep people at a distance. I think this was a great idea for a song, and Andy’s vocals really sell it. In my opinion, “Diamond Lies” is another great track on the album.</p>
  434. <div class="jetpack-video-wrapper">
  435. <div class="embed-youtube"><iframe title="Diamond Lies" width="825" height="619" src="https://www.youtube.com/embed/HuP_ZyEwys8?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  436. </div>
  437. <p>Next is “New Horizons,” which is the first actual ballad to appear on the album is also the shortest track, clocking in at three minutes and six seconds. This track focuses more on piano and only includes minimal synths in its arrangement, and I think this simplicity was a great decision for the musical arrangement. Lyrically, the song tells the listener to not dwell on things if they’re going through a bad patch because nothing lasts forever. This message, along with the simplicity of the musical arrangement, really makes “New Horizons” stand out on <em>The Neon</em> in a good way, and it’s among my favorite songs on the album.</p>
  438. <div class="jetpack-video-wrapper">
  439. <div class="embed-youtube"><iframe title="New Horizons" width="825" height="619" src="https://www.youtube.com/embed/odOQCIaQk_g?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  440. </div>
  441. <p>This is followed by “Careful What I Try to Do,” which is more of a slow-to-midtempo track that brings the synths back in full force. Lyrically, the song is from the point of view of a speaker who’s grateful for their significant other and they also share what they love about that person. You can hear sincerity in Andy’s vocal delivery of these lyrics, which adds a lot to the track. To me, this is another song that I enjoy on the album.</p>
  442. <div class="jetpack-video-wrapper">
  443. <div class="embed-youtube"><iframe title="Careful What I Try to Do" width="825" height="619" src="https://www.youtube.com/embed/k3V6-cwX_kU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  444. </div>
  445. <p><em>The Neon</em> closes with the longest track, “Kid You’re Not Alone,” which clocks in at four minutes and 34 seconds. Musically, this song is on the slower side. I like Andy’s vocal performance as well as what the lyrics have to say about reassurance. Unfortunately, I just find that the music sounds like it’s kind of plodding along and not really going much of anywhere, which impacted my ability to fully appreciate the song. Even saying that, I would have to say that “Kid You’re Not Alone” was the best track to close the album with.</p>
  446. <p>For the most part, I enjoyed <em>The Neon</em>, but there were just a couple of sections of the album that I thought weren’t quite as strong as they could have been. The album has a strong start, falters for a couple of tracks at the halfway point (due to musical and production decisions that didn’t appeal to more than anything else), then it rebounds until the last track. While I wouldn’t rank <em>The Neon</em> among my top favorite albums by Erasure, it’s still a good release from the duo. It’s just unfortunate that it came out during a pandemic lockdown and that the tour that later happened to promote <em>The Neon</em> kept getting derailed due to situations outside of the duo&#8217;s control. These circumstances ultimately limited the promotion and reach the album might have had. If <em>The Neon</em> had come out during a more &#8220;normal&#8221; time, it might have been able to have better chart success than what it ultimately achieved.</p>
  447. <p><em>(reviewed by Lesley Aeschliman on November 18, 2024)</em></p>
  448. <p><!-- /wp:paragraph --></p>
  449. ]]></content:encoded>
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  459.  
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  461. <media:title type="html">Erasure The Neon</media:title>
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  464. <item>
  465. <title>Song Review: Ayaka Nanase &#8211; &#8220;Sayonara niwa Naranai&#8221;</title>
  466. <link>https://aeschtunes.com/2024/11/18/song-review-ayaka-nanase-sayonara-niwa-naranai/</link>
  467. <comments>https://aeschtunes.com/2024/11/18/song-review-ayaka-nanase-sayonara-niwa-naranai/#respond</comments>
  469. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  470. <pubDate>Mon, 18 Nov 2024 18:00:00 +0000</pubDate>
  471. <category><![CDATA[music]]></category>
  472. <category><![CDATA[review]]></category>
  473. <category><![CDATA[2020s]]></category>
  474. <category><![CDATA[2020s music]]></category>
  475. <category><![CDATA[Ayaka Nanase]]></category>
  476. <category><![CDATA[J-pop]]></category>
  477. <category><![CDATA[music review]]></category>
  478. <category><![CDATA[Sayonara niwa Naranai]]></category>
  479. <guid isPermaLink="false">http://aeschtunes.com/?p=22379</guid>
  480.  
  481. <description><![CDATA[On November 17, 2024, Japanese voice actress Ayaka Nanase released the music video for “Sayonara niwa Naranai” (which translates to “This won’t be good-bye”). The song is being used as the fifth ending theme for the Yu-Gi-Oh! Go Rush!! anime. I have to be upfront in this review and admit that while I have some&#8230; <a href="https://aeschtunes.com/2024/11/18/song-review-ayaka-nanase-sayonara-niwa-naranai/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Ayaka Nanase &#8211; &#8220;Sayonara niwa&#160;Naranai&#8221;</span></a>]]></description>
  482. <content:encoded><![CDATA[<p>On November 17, 2024, Japanese voice actress Ayaka Nanase released the music video for “Sayonara niwa Naranai” (which translates to “This won’t be good-bye”). The song is being used as the fifth ending theme for the <em>Yu-Gi-Oh! Go Rush!!</em> anime. I have to be upfront in this review and admit that while I have some familiarity with some of the earlier entries in the <em>Yu-Gi-Oh!</em> franchise, I have absolutely none for this most current entry.</p>
  483. <p>Musically, “Sayonara niwa Naranai” starts out with a slow piano intro before launching into a mid-to-uptempo track with instrumentation focusing on piano, strings, and percussion. It primarily stays at that higher tempo until right near the end of the song, when the instrumentation falls back to basically just being the piano again. I thought that having the song end abruptly like it does was actually a good artistic choice, especially the instrumentation choice for the track. I also thought that Ayaka Nanase has a good voice, and that the combination of her voice and the musical arrangement keeps the listener captivated throughout its runtime.</p>
  484. <p>Unfortunately, the music video I watched for “Sayonara niwa Naranai” on YouTube did not include an English translation of the lyrics in the closed captioning. As of this writing, an English translation of the lyrics has not been posted on the internet. However, I found I could still enjoy this song without truly understanding what’s being sung. Between the translation of the title, Ayaka’s vocal performance, and the musical arrangement, I think the listener has enough clues to potentially pick up on the gist of the emotion and intent of the song.</p>
  485. <p>I enjoyed listening to “Sayonara niwa Naranai,” and I think that fans of both Ayaka Nanase and of the <em>Yu-Gi-Oh! Go Rush!!</em> anime will appreciate it as well. I also believe that it can be enjoyed by listeners who already have an appreciation for J-pop. When it comes to western music audiences, I think that listeners who enjoy pop music might find something of interest here as well, especially if they don’t mind listening to a song that’s being sung in a foreign language.</p>
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  487. <div class="embed-youtube"><iframe title="七瀬彩夏2ndシングル『サヨナラにはならない』Official Music Video" width="825" height="464" src="https://www.youtube.com/embed/ebwGfHJmvKQ?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>
  488. </div>
  489. <p><em>(reviewed by Lesley Aeschliman on November 18, 2024)</em></p>
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